Devon DeJardin Presents: Giants

In previous works, DeJardin’s Guardians were solitary figures, in dialogue only with the viewer. In Giants, DeJardin introduces a new dynamic between the Guardians, placing them in conversation with each other to elicit themes of introspection, growth, and resilience. DeJardin’s latest body of work not only explores narrative complexity, but also expands his artistic vocabulary. Ranging from intimate portraits to monumental tableaux, the exhibition culminates with a monumental bronze sculpture — the first that the artist has created at this scale. The evolution of his sculptural practice is reflected in his treatment of the paint on canvas. These new works feature an unparalleled depth of forms, rendered with a precision that at times belies the presence of an artist’s hand.

office sat down with the artist to discuss his upbringing as an artist, upcoming show, future projects, and more.

What does the universe of Devon DeJardin look like right now? Could you paint a picture for me?

I'd say the past year has been focused on getting ready for this solo exhibition in New York. It was about a year and a half of work to develop these 10 paintings and two sculptures and it's been kind of all over-consuming. There was this kind of excitement, working towards this exhibition that I wanted to focus on, I wanted to put something out there that was gonna make a statement. So I kind of hunkered down for the past year and a half and kept a very rigid work schedule, Monday through Friday, about 10 hours of painting a day. I went through about 20 to 25 different works to come up with these final pieces. I wish I could say that my life has been this fun, super exciting traveling journey for the past year, but it's been focused on trying to make this show something that I'm proud of personally, but then also something that captivates the audience that comes in and sees it.

You’re a self-taught multimedia artist, which is incredible seeing as your work is quite remarkable. Could you recall your earliest memory of when you were propelled into the world of art? What made it stick with you?

I remember visiting my grandma, she’s a watercolorist, she never did much other than small group shows selling works for no more than a couple of hundred dollars. Though growing up as a kid, I remember going to spend time with her in Marblehead, Massachusetts. She had this unique print studio in the basement of her house, where she did all sorts of collage styles, works with watercolor, and mixed materials that she would find on the beach. It was just really kind of like opening the wardrobe and going into this different world down there.

I remember I was at the MFA in Boston, I went there when I was about 10 years old with my grandma. We were walking around and I remember seeing some gruesome, horrific paintings of these early medieval times like horses, pulling the limbs off of people. I was like whoa, I'm feeling something from this and it's grotesque and it's dark and it's not something that I wanna have my work portray. However, it was captivating to me because it showed me that through simple marks on a paper and simple gestures with paint you can evoke so much emotion through a canvas. So when I started to self-teach myself over the past couple of years, that idea of really trying to pour in energy and focus to create a piece of work that can emulate that feeling that I had as a child, I think is always on the forefront of my mind.

What is it about the work of artists such as Picasso, Duchamp, and Krasner that fuels your inspiration? Talk to me about some of the references that bleed into your designs.

I think it's very hard to kind of shy away from the fact that Picasso, the father of cubism and just an overall character sort to say. That has a strong influence on my work just because so much of my current body of work involves geometric forms to create these portrait-style images. With this show, a lot of my physical influences came from other artists, writers, and poets, there was a heavy lean on Goya and his color palettes and his understanding of light. Then diving into the title of the show called giants, coming from a book that Malcolm Gladwell wrote about these metaphorical giants that we face in everyday life. It also discusses the power of understanding that oftentimes as individuals we are viewed as the lesser to these giants, but in reality, we have such an advantage if we choose to lean in and dive into these symbols in our lives.

The overarching concept of your work seems to focus on the concept of guardians, what exactly does this mean to you and why is this important for you to explore as an artist?

Guardians to me, um, is based on the idea of non-theological protection and this kind of being that is placed in a household or this figure that's supposed to guide and help and serve and protect. I went to school to study world theology and get a better understanding of the major worldviews and perspectives that were out there. I feel like so much of people's studies when it comes to religion are what separates us. You believe something, I believe something. Now we're gonna put a wall between us because I think I'm right and you think you're right. But in reality, if we can step back and look at the common threads that tie us all together, we all need some sort of angel or protector that's there to help us get to this next step in life. These battles can be turmoil, pain, suffering, and loss, but at the same time, these guardians can be there to help celebrate these successes and these moments of joy in our life. So in short guardians, to me, are these non-theological symbols of protection that are meant to hold our hand as we walk through this journey of life.

First and foremost, congratulations on landing your first solo gallery show in New York! What themes did you try to highlight throughout? What kinds of dialogue do you hope to spark from those who visit?

So in all of my shows, this is a little bit more hidden for myself that I like to seed in there and hope that people will discover. There are four pieces in the show and I don't want to specifically name them, but they tell a four-chapter story about the idea of facing whatever it is in your life that you consider a giant. I'll say that the first painting starts with the title: ‘Things aren't always as big as they seem.’ It's an ode to the story of David and Goliath. So you have a giant figure on one side and you have a little figure on the other and they're facing each other where you can't tell if they're about to enter battle or if they're gonna have a stare-off or if they're gonna turn and go opposite ways. You'll see throughout the rest of the show, there are four pieces that you kind of see this figure getting bigger and they start to look equal to each other and then eventually they start moving towards each other and through each other. For me, it's that story of the moment we choose to face symbolic things in our lives that we know that we need to push through, but as we face them, we start to realize we were at an equal advantage and we can push through them into this metaphorical light.

Of the four chapters, how did you conceptualize your vision? How did you decide that you were gonna split it up into these four chapters? What is it about geometrical shapes that help you convey your stories?

Using geometrical shapes is part of a further vision of mine, one in which I also want to have a creative process. I think design elements when it comes to architectural sculpture, all different kinds of forms that are around us, they're made up primarily of shapes. So taking certain shapes from different things, such as buildings and houses and bridges or whatever it may be, and then using them to create paintings, I just think that allows much further exploration of the arts when you can base it off of things like these simple structures. Part of me all the time wants to just break out into these hyper-realistic paintings of people in landscapes. I'm sure at some point I'll explore it, but for right now it's just solidifying this base that I can build from in the future. You're gonna see two sculptural pieces that I've been working on, but it's this idea of taking these shapes from the canvas, seeing that they're almost coming off through the paintings, and then actually placing them into physical spaces.

How did you decide on the references that you were gonna use in your upcoming show?

For me, it started with one of the portraits and I was like, wow, I just kind of found out that I can push this to such a three-dimensional level. It was also during the time that the NFTs and the metaverse and all this digital stuff were booming. I thought it’d be cool to tap into this exploration that this world is having in this hyper-digital age. I thought to myself, what if we take these paintings that are kind of two-dimensional, flat, dark, and eerie and push them into this feeling that they could live in this future space. When I came to that idea, I was like, how do I tie something that's future and present, but then link it and anchor it in something that's from the past? That's where that Malcolm Gladwell's book came in because he references something that's from thousands of years ago, but he describes it in a present sense. Now you're looking at the work that could also look in a future tense. So it's trying to play on those three pillars.

The sculptures that you’ll be showcasing seem to be emblematic of your work, what did the process of melding this together look like? What ties into the rest of your pieces?

The sculptural process is something that I'm still learning, I'm being mentored and taught. I'm working alongside people that are far better than I am at sculpting and it’s a process that takes many hands. The process goes from taking an original sketch, making it into a painting and then I bring it into a 3D format on the computer and envisioning what these paintings would look like from all angles. For me, that's the tricky part because all of my paintings and portraits are kind of forward-facing. Then to take a side angle on the back angle and create balance within that, that's the most time-consuming part of it.

Once we have those 3D files, it's sent over to the foundry and we start to work on the wax molds and the printouts, and then slowly life starts coming together with the bronze and the welding and melding. I've always wanted my work to be able to be seen in all different kinds of settings and landscapes. Painting is limited to primarily being able to be indoors but I think there's so much power in this idea of what a guardian is. It should be able to be placed in all different areas. I just want to be able to have my work seen in all different types of environments. I think there's something really interesting about archeologists digging up these artifacts from the past. We find dinosaurs and these religious symbols and we try to put narratives to them. So I thought it would be cool to create what I thought were these guardian paintings that I've been working on.

Lastly, what can we expect to see from you in the upcoming months? Is there anything in particular that you’re looking forward to?

I'm doing a couple of pieces at the armory show in September, which has always been something that I've wanted to be involved with. I think it's a good experience and a good program. As far as the work, I'm gonna be further developing sculpture elements of my process. Then I'm trying to start conceptualizing and building this world around these portraits and these characters. It's kind of like you have the chapters, you have the characters, and now it's time to build that narrative around the characters to tell us a complete story, especially with this guardian body of work, which has been an extended body of work for multiple years now. I see it coming to life in so many different forms and I'm slowly unveiling these chapters that when people look back at it in a couple of years, you're gonna see all these different ways that they become connected as one. I find myself learning more every single day, but I've always kind of given myself credit for being a good storyteller. So I'm trying to bring this idea of storytelling into painting and people towards a much larger narrative. In the end, it's kind of a little mystery.

Art

All Roots Lead to the Imaginary

During the 60th edition of the Venice Biennale, London-based gallery Unit London presented In Praise of Black Errantry. The show comprises 19 modern and contemporary Afro-diasporic artists, including the likes of post-modern pioneers and New York City natives Jean-Michel Basquiat and Romare Bearden, alongside post-post-modern artists such as Rachel Jones, Hilda Kortei, and Jonathan Lyndon Chase. Based on French philosopher and writer Eduard Glissant's definition of errantry, "a mode of freedom and resistance, evoking a spiritual or purposeful wandering beyond national borders," the show celebrates the boundless Black imagination in contemporary art.

In Praise of Black Errantry will be displayed from 17 April–29 June 2024.

Curated by art historian Indie A. Choudhury, the exhibition offers an expansive interpretation of errantry: "Errantry opens up alternative ways of thinking and perceiving, affording creative disorder and the reordering of narratives, histories, and temporalities. All roots (routes) lead to the imaginary." Errantry, as shown by the artists in the exhibition, is the unbridled ability to dream and create without the constraints of nationhood, predefined borders, or colonial inheritance.

Jean-Michel Basquiat, Samo I and Samo II (1981)

Never is errantry more apparent than through the works of Basquiat and Romare Bearden, two New York artists at the center of In Praise of Black Errantry. Basquiat's work uses movement and broken imagery to create his errantry, rejecting the typical Western perception of what constitutes 'good art' and making his distinct visual language. His two works on display, Samo I and Samo II (1981), show fragmented images, a monstrous figure, and an explosion on a flat, dark background.

Romare Bearden, Seance (1984-86)

Bearden mirrors Basquiat in his use of fragmentation, using collages and bold colors to portray movement, music, and displacement themes. In Seance (1984-86), Bearden employs a blend of watercolor and gouache, resulting in rapid drying that gives rise to several figures distorted into monstrosity by their fluid interaction with colors; though not fully formed, their presence remains distinctly palpable. Bearden creates no divide between the figure and movement, blurring the lines between classical figuration and abstraction.

Rachel Jones, !!!!! (2024)

The influence of Basquiat and Beadern can be seen throughout the exhibit, as fragmentation, movement, and color are employed to explore post-postmodern errantry. In Rachel Jones's painting !!!!! (2024), bright, rich, abstract color islands float across the canvas, reminiscent of the ever-moving watercolor of Bearden. The artwork is unstretched, and the bottom is uneven, emphasizing its imperfection and materiality. As the title suggests, the painting is pure, intense emotion conveyed by the unbridled joy of her color and movement.

Hilda Kortei, Demur (2023)

Similarly, the painting Demur (2023) by Hilda Kortei uses a mixture of mediums, oil, acrylic, and charcoal, on fragmented collaged canvas to create a sculptural and layered painting. It defies the traditional conception of how a painting should be constructed and instead utilizes its flaws to create a multilayered cacophony of movement. While the hesitant title Demur is at odds with the excitement of Jones's !!!!!, both works employ similar techniques to build errantry. Neither work is static; each feels like it is ever evolving, a sentiment shared by all works in the exhibition.

In Praise of Black Errantry is a striking and unique exhibit. Within the larger context of the Biennale, whose theme this year was "Foreigners Are Everywhere," Unit London takes the opportunity to celebrate the non-conformity and limitless creativity of Afro-diasporic artists. By foregrounding the voices of marginalized communities and embracing the ethos of errantry, the exhibition transcends the limitations of cultural persistence and political containment. As curator Choudhury describes, the artists in the exhibition "take up errantry as a radical strategy that defies boundaries and advocates for spontaneity and experimentation beyond cultural fixity or political containment."

Art

Nari Ward Loves Objects

April 30, 2024

Nari Ward loves objects. Many people love objects — shoes, books, chairs, mugs with their children’s faces on them, etc. — but Ward thinks about things a little differently. For him, the object is not an artifact of life but life itself: it is something to be held, treated with care, respected. His work, which spans the realms of sculpture, installation, video, and drawing, insists on this care as much as it wrestles with another, separate desire: to burn it all down. These impulses are not entirely different; rather, they represent a deep and enmeshed relationship to the general bric-a-brac and cacophony of stuff that populates our lives. Each and every room, whether real or imagined, is filled to the brim with items that signify empires crumbled and pasts abandoned. For Ward, these items speak, dance, engage in secret affairs of their own. Even the mugs with the faces.

By Phoebe Roberts
Portrait courtesy the artist and Lehman Maupin, New York, Hong Kong, Seoul, and London. Photo Axel Dupeux

The Jamaican-born, New-York based artist has long been fascinated by objects. His best-known work, Amazing Grace (1993), featured over three-hundred baby strollers that the artist scavenged from the streets of Manhattan and then installed in the walkway of an abandoned Harlem fire-station. A statement on the AIDS crisis and drug epidemic ongoing in New York at the time (the strollers were often used by the city’s homeless population), the piece foregrounded Ward’s focus on utilizing found materials to tell stories that their human counterparts could not. Over the next three decades, the artist continued to work with such materials — shopping carts, bottles, doors, television sets, cash registers, and shoelaces included — and translate their silent language into a more readily accessible dialogue. The resulting practice is one filled with intimate links to the world around it: it sings of previously undiscovered connections, alerting us to the unspoken ties between us and our possessions.

Nari Ward Hunger Cradle, 1996 (detail). Yarn, rope, and found materials. Site specific installation. Installation view, "Global Vision: New Art From The '90s (Part II)", Deste Foundation, Athens, 1998. Private Collection. Courtesy the artist. Photo: Fanis Vlastaras and Rebecca Constantopoulou

Nari Ward: Ground Break (28 March- 28 July 2024), a retrospective at the Pirelli HangarBicocca in Milan, offers an up-close look at this practice through a number of Ward’s sculptural installations and video works. Curated by Roberta Tenconi with Lucia Aspesi, the show begins with Hunger Cradle (1996-2024), one of the first large scale installations that the artist created in the 90's as part of the “3 Legged Race” exhibition in New York. A complex network of interlaced threads, Hunger Cradle unveils found objects — car parts, fire horses, a piano — that Ward collected from around the original show’s building and then embedded in the piece’s structure. Here, the work has been further enriched by new materials sourced from around the Pirelli HangarBicocca, including bricks used in the exhibition’s titular piece, Ground Break (2024), a sprawling floor installation made of over 4,000 concrete bricks and topped with decorative spiral motifs that resemble celestial bodies.

Nari Ward Happy Smilers: Duty Free Shopping, 1996. Awning, soda bottles, fire hose, fire escape, salt, household elements, audio recording, speakers, and aloe plant. Variable dimensions. Installation view, "Nari Ward: Happy Smilers," Deitch Projects, New York, 1996. Courtesy the artist and Lehman Maupin, New York, Hong Kong, Seoul, and London, and GALLERIA CONTINUA

Although not the exhibition’s center piece, it is Hunger Cradle (1996) and its implied sense of support that best serve as a metaphor for what Ward, or so the viewer might be led to believe, is trying to express. From the dead fish whose carefully skinned flesh line the floor of Super Stud (1994/2024), a small house propped up on metal studs in the exhibition’s main room, to the tangle of stray shoelaces that make up Tumblehood (2015), a spherical sculpture that mimics a tumbleweed, what emerges above all is the artist’s desire for preservation amidst the never-ending flux of life. There is a dash of the mad collector here, or perhaps something of the old Proustian goal: to regain what is lost. Still, Ward goes beyond merely accruing disparate materials or using objects to recount past experience; instead, he takes things in, provides shelter, then suffuses them with his particular magic, which is also his art.

The show, on view at the Pirelli HangarBicocca’s cavernous space north of Milan’s city center until the end of July, affords us a previously undisclosed peek into the minds of one of America’s most compelling contemporary artists. It —and its many oddities and beauties— is not to be missed.

Nari Ward Ground (In Progress), 2015. Copper, darkening patina, 702 bricks, 9 sections of 78 bricks 6.4 x 121.9 x 121.9 cm (each section) 6.4 x 365.8 x 365.8 cm (overall as installed). Installation view, "Nari Ward: Breathing Directions," Lehmann Maupin, New York, 2015

Art

Coco Star Sims Has Been Extremely Busy

Over the past year, she has been extremely busy working on a variety of different projects across the world. She designed three collections, with LQQK Studio, Big Love Records and Perks and Mini. She released a zine with Commune Press with fellow tattoo artists Keegan Dakkar and Jackson Epstein from New York as a prequel to the group show ‘Songwheel’ they did together in January at Commune’s Gallery in Tokyo. This year is planned to be just as full on for her. As a fan of Coco and her work, I wanted to sit down with her and talk about her work and her projects before she moves to Tokyo next month.

I wanted to start by asking about tattooing which seems to be your main practice as of late. How did you get into tattooing and was it a natural transition going from drawing?

Drawing has always been my happy place and I think tattoos are just an extension of that. I got my first tattoo when I was fifteen. I wore an outfit that I thought looked really grown up and hoped they wouldn’t ask any questions, thankfully they didn’t. I really enjoyed the experience of getting a tattoo. I started doing terrible stick and pokes with my friends when I was in high school, we would get sewing needles and tape them to pencils and use pen ink. Then it grew and at parties’ people would ask me to do it. It got to the point when friends and friends of friends started asking if they could come over for me to give them a tattoo after school. When I was at art school people started asking me to do drawings for them to get tattooed. I was spending a lot of my time doing stick and pokes and doing drawings for others. I wasn’t thinking of it as a career, I just enjoyed doing it. People offered to pay but I thought that was ridiculous and refused for a long time. Then there was this one time when my friend who was visiting asked if I could give him and his friends these matching tattoos to commemorate their friendship, they’d buy me a six-pack of ciders and we'd light off fireworks [laughs]. That night I realised just how much I enjoyed tattooing. After that, that’s when I decided to commit to it. I bought a machine, made Flash, got a mentor, started practising on lemons and my friends, quit my job and that was it.

When did you quit your job and start tattooing full-time?

I think I was 20 or 21, so it’s been sixish years now. In 2020 and 2021 Melbourne was in lockdown for basically the whole time so I couldn’t really tattoo for most of those two years. Then I’ve also done some travelling before and after, so I haven’t been consistently tattooing the whole time. In the scheme of things, it hasn’t been very long.

Wow, I didn’t realise it’s been so long. When did you develop the style of tattoos that you are doing now?

I have always just made tattoos in the style that I would want to get myself and things from my other drawings that people asked for. When I started, they were more scribbly and doodly because I wanted ones like that and also because I wasn’t very good [laughs]. I would say during lockdown when I had a lot of time to sit, and draw my style shifted more to what it is now.

Your style is so unique. Where did the influence for it come from?

I have always been really interested in creatures, world-building and storytelling. I read a lot of sci-fi, I watch a lot of movies with special effects, I love trail running and get a lot of inspiration from nature especially Australian flora and fauna, space, my friends, and I really love puppets and animatronics. Those are all such big influences on my work.

Can we talk about your love of puppets?

Yeah, I used to spend a lot of time at this puppet shop/theatre called Hocus Pocus when I was a kid. I would have every birthday there. It got to the point where the owners would put out birthday signs on the month of my birthday because I spent so much time and all of my pocket money there [laughs]. It felt so big at the time, like I was stepping into another world. I have gone to visit where the shop once was since, in reality it’s just a small place, the store has changed into many other things over the years, but it still feels nice to go in.

A lot of your recent drawings have been centred around the theme of perception and shrimp vision, where did the influence for that come from?

I love theories of perception. I really like looking at how other creatures see things and make sense of them compared to humans. My favourite creature is the mantis shrimp, the mantis shrimp has the best vision of any creature in the entire world. Humans view the world through three channels of light and the mantis shrimp views through twelve and they can see UV. They see a whole spectrum of colour and light that is so beyond what we can even imagine. A big focus in my work is imagining how the mantis shrimp would experience the world. That is what the big focus of my recent show with Commune Gallery was, trying to play with colour that created a spectrum in the way I imagine they are morphing colours in a way we can’t perceive.

Do you think that’s where your use of coloured pencil comes from?

Yeah, definitely.

While you are out in nature are you taking photos of things that you’d take influence from?

Yes, or I take them home [laughs]. A lot of feathers, rocks, lost buttons and things. As I’ve been moving I’ve been getting rid of a lot of it, but I bring a lot of things home. A lot of what’s in my drawings is from something I’ve found or has some kind of story behind it.

Do you have an example of a bit of your work that has a story in it?

This little creature with robo-tentacles in this one part of this drawing. An old friend of mine is working on a project making birdhouses to help keep swift parrots safe from sugar gliders. I was thinking about how sugar gliders are so cute and it’s funny to think they are the villains in this situation. I saved some photos of sugar gliders when I was reading about the project. That same day I took a photo of a Spider-Man balloon to send to a friend of mine that loves Spider-Man. The two photos were next to each other in my camera roll. So, I drew a sugar glider with these big Dr Octagon arms to represent their villain-hood in this story.

That is so cool, it’s something that the viewer would never understand, but it means something to you. Is it something you think about when you’re drawing and putting in these little personal easter eggs?

I’m not trying to make it something people won’t understand on purpose. People can take what they want from it. I want looking at my drawings to be like cloud watching, where the viewer can get lost in it and constantly find new elements or make sense of different parts in different ways.

Where do your characters come from?

All of the things that I have been talking about. I also get a lot of inspiration from seeing images in things like droplets of water or in the pattern on a machine. I see a lot of things in droplets of water when I’m in the shower.

Your latest zine, ‘Sixteen Rollercoasters’ that you made with Stacks Bookstore in Tokyo focuses on some of those characters. Can we talk about the zine?

The infinity symbol looks like an eight, two eighths make sixteen, which in my mind is double infinity. As infinity is infinite, in theory it can’t be multiplied so I like the idea of multiplying the un-multipliable [laughs]. It is also a reference to a song by Rammellzee called ‘Seventeen Roller Coasters’. I like the idea that by “doubling infinity” it is still one behind Rammellzee. I made this zine to zoom in on specific characters within my larger drawings that are particularly special to me. It’s printed on this pearlescent paper that sparkles in the light.

You are doing so much at the moment and it goes across a wide variety of mediums, whether that be clothing, drawing, tattooing, food and design. How does it feel having that much creative freedom to be able to not be limited by the medium?

I have never actually thought of it like that. I like trying new things and making things with my friends and have always been excited by collaborating with others to make something neither of us could do alone. That is one of the big things with tattooing for me too. I see the characters as little friends of mine and when I tattoo them on someone, they become that person's own little friend.

Working with different mediums you can stretch your ideas so much further. Do you ever feel limited by drawing and tattooing?

I haven’t ever felt particularly limited by these things. I see drawing and tattooing as just part of what I do in the bigger scheme of things.

Are there any other mediums you could see yourself working in?

I would love to make more sculptural pieces and furniture at some point.

You’re also designing a donut, right?

Yeah, I’m designing a donut for Juanita Peaches which is a café owned by my friends. They are doing a series of different donuts throughout the year, and they reached out to me to design a donut.

How does designing the donut work?

So, I come to them with my flavour ideas and what I want to do with the design. Then I work with the pastry chef, and she takes the ideas I have and works out what is realistic and what can work.

What drives you to create?

I’m not sure, really. I think storytelling and connecting. It’s important to me to work with friends and people whose values align with mine. All the projects I’m working on at the moment are with people I feel very lucky to have in my life. That definitely helps drive me.

What’s next for you from here?

I am moving to Tokyo next month, so I am currently packing up my apartment. I am working on a new collection with Perks and Mini that will come out at the start of next year. I worked with them on designing some pieces and I have really enjoyed the process. I am also working on a three-way collaboration with Geek Out Store and Commune Gallery. I have some other projects that I am working on now that I am really excited about.

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